In the end, we see that Sam is the catalyst for change for Andrew; she brings the spark, that his medication has put out, back into him, and this is all symbolic in the colours. He was an actor, known for Amélie (2001), The City of Lost Children (1995) and Danton (1983). It’s this playing around with the camera that makes Amélie so great in terms of the filming side. But Garden State has actual comedy elements. With the all new Thomas Movie Review System 2007, I’m attempting to convey both my admiration of both films and why I believe them to be cinematic masterpieces and vastly underrated. In recent decades, unsurprisingly, this novel has been made into two movies. Well, for the technical side, it is just so hard to split. Andrew has to contend with real problems, he has to deal with real people, and he finds himself in contexts, environments and settings. All his furniture is padded. I’ve always wanted a theme to my blog; perhaps movies is that elusive theme. And here, in this shot, Raymond Dufayel, by the end of the film, holds more sway over Amélie than anyone would think (the painting I will discuss later), and while the argument could be made that it’s only an establishing shot, Raymond is never given the positioning to discredit this. That certainly helps it’s grab at the point, but is dampened by the fact that Garden State can use the traditional camera works, that Amélie discards, and makes them seem unique and original. The two go from a warm shared scene in a bathtub (referenced next) to a scene where they appear to be leaving one another – and, of course, it’s in a very hostile setting for emotions and colour. One has the ever-so exquisite Audrey Tautou while the other has the stunning Natalie Portman. Either way, the two films are full of them. For Garden State the comedy is subtle, but overt. Amélie breaks down the fourth wall between film and audience (@00:11:16) when she tells us that she enjoys looking back in movie theatres, then a few seconds later, what she dislikes about films, and once again after playing her first ‘game’ with Nino (@01:13:57), then, in the closing stages of the film (@01:52:23). That would only happen if the character was portrayed by someone who, really, didn’t have the skills to pull it off. for all it’s value, uses and suffers from normal Hollywood techniques, which is something that does surprise and hurts me. When Amélie finally finds herself and what she’s been after the whole movie (either consciously or subconsciously) you actually feel happy for her as long as you’re not afraid to become ‘involved’ with the film. But, as I hope you’ve seen, these two films are standout, classics (in my mind, where they are also filed under under-appreciated) and worthy of the in-depth analysis I’ve given it (though, admittedly, I’ve only scratched the surface on some of the elements). But same is also stability, reason and another ‘way’ through the journey. , the colours are what do set this film above others, and really deserves the point. Of course, in saying that, I readily acknowledge that probably everything has been tried once before, and thus nothing is ‘new’. The reddest place in the film Amélie’s room. It’s a real sterile feel. What’s going to be focused on here is technical and story aspects, because that’s what resides with you when you’ve finished watching these films. Where the camera is always moving in Amélie, in Garden State the camera’s movement, or lack of, is minimal. My best example is this shot (anyone who has seen the film will know the shot). Now the camera follows the journey through childhood, then weaves its way through each of the characters, stopping, in both parts, on the important players and with enough time so that we obtain a sense of who we are dealing with. My adoration for Natalie Portman is no secret, and may (likely to) have clouded my vision here. The night of Princess Diana’s death is readily acknowledged by the narrator as the trigger. But, the important thing to remember is that this really was a standout performance for Portman in amongst the dreaded Star Wars prequels. The image of, It’s difficult to compare the ‘way of life’ that. She’s different to what we’ve seen so far – ‘dead’ settings, ordered, organised and confined. And it’s Amélie simplicity, thus, that attracts us to her from the outset. This shot gives me a nice segway into what the environment says about our characters. If this type of post proves to be successful, I’ll go and do the next one I had planned. But what makes them so good? And perspective, well, the use of that in Garden State is really for totally different purposes than we see in Amélie. But regardless, we aren’t comparing those two, we are comparing Natalie to Mathieu. They are overt in that they are readily available, but subtle because you have to know what they mean, and they might not be so obvious as you see them (or perhaps you have to wait until the end of the film). Brown, Arthur A. âRaymond Carver and Postmodern Humanism.â Critique: Studies in Modern Fiction 31.2 (1990): 125-136. Natalie Portman distinguishes herself by refusing to do nude scenes, not engaging int the modern ‘celebrity’ notion, hasn’t (nor will I predict) follow in the traditional footsteps of modern actors, but manages to pick the odd dodgey film to act in). Seriously, I applaud anyone who managed to go through it all. Though the exact nature of Raymondâs disability is never specified, the story implies that itâs primarily intellectual: he has an unusually large head and is described as ânot⦠Nino, as I see it, doesn’t play this same, pivotal role. That’s no surprise. a highly intelligent, highly driven individual with developed sociopathic tendencies. I find it hard to believe that Braff wrote Largeman as a blank piece of paper that had not real emotion inside, especially when we see his breakdown and later expression of love for the woman he meets on his return journey. It takes ventures that you don’t see in Hollywood that much anymore. So what film can possibly win this point? The camera also sets up the important settings of Andrew. In response to this, Sam provides a nice little theory on self-perception: The helmet I was wearing… Oh come on, that’s funny. Her neighbour, Mr Dufayel is the one who sees that she hides from the world like a shy child and encourages her to come forward and take part in life; indeed when we see her The narrator’s role is exceedingly important, though warrants a discussion on its own. It’s financed by Miramax, who aren’t one of the two giants in Hollywood, so there’s that freedom for the production team. I hope that the wait didn’t put anyone off reading this. It is used to show. I’m a big fan of how the camera is used in films. But strangely, it’s portraying her as having less power. Tolstoy pays him a visit and the great writer of short fiction like Carver is in complete denial about the precarious state of his health and the approaching end to mortality. What this does is symbolises the change in perspective – Andrew hasn’t changed, but the way he views the world has. Amélie, she is holding a glass. And we come to Mathieu Kassovitz who has the impossible task of besting Portman’s glowing performance. This works in two ways – one: she is looking at the world through a lens, not actually letting herself be part of what is out there. They are both similar in some respects (they both are on a journey to find a better self, and in the case of these two films, that is through ‘true’ love; they both understand themselves, but struggle for others to see them for who they are; the two characters are ‘colour’ in their films) but, as is the case for their roles in their films, they do differ. I’ve always liked that post, and ‘Mr. There’s a heap of questions that I still need answers to in this film, but I don’t exactly want them all solved at once. Anyway, after all that boring explanation stuff, it’s time to get into it. And, of course, Sam, like all great supporting characters, has the big serious speech that knocks Andrew and the crowd (when they actually think about it) to the floor when they should be. That’s not to say everything else has been blacked out, but these two, and the way they are worked in and around every other colour is quite elegant. He is just unpredictable and, strangely enough, what I perceive as real. I would appreciate any sort of feedback on this – even a contrast in opinions on either/both films. If I were to ever meet Tautou, I would fully expect her to be Amélie. The second: every now and then the camera acts as a confessional for the characters. Sam’s entrance into the film brings with it colour and, ultimately, a change in emotions for Andrew. Two: she is already looking at her own person through a lens (as we are do note), just as the painting will become a lens into her own self. The camera, I have noticed, is usually moving – either following characters or zooming. He’s stopped taking his ill-prescribed medication, and now he can see that the world is this fast-paced race, and, through all this, he’s still the same person. It cannot be stressed enough that while Sam does all of the above, it is in conjunction with all those other secondary characters, and they are all actors in Andrew’s journey. Sam brings the life to this film with the other supporting characters. He certainly is instrumental, though not the linchpin that Sam is. Instead, he manages to effectively stifle all of Andrew’s emotions and feelings and expressions to the living-comatose state that Andrew has been medicated into. She is lovable and kind and interesting and unique. Sam is a quirky character, on par with Amélie. She decides to help those around her and, along the way, discovers love. After meeting adult Amélie, I initially wonder why she appears to be so normal. For Andrew, it’s the opposite in terms of his journey. Amélie wears and the green clothes that Mr. Amélie that I brought up just a moment ago. Well, I’ve touched upon it before now – colours. But, quite easily, with the wrong casting, Sam could have been an obnoxious lier who the audience comes to loathe. Let’s start with the how the camera is used in Amélie. Character Analysis Raymond He is short and thick-set and has a flattened nose. But Amelie gets at least two (I was tempted to go so far as three) for including the painting and the metaphor. Amélie, through some basic movie techniques, becomes a very familiar character, and ultimately, much more relatable to the audience. So Amélie walks out on top, on what some may think is a closer margin that what others would get if comparing one of their all-time favourite films with their number eight favourite. A student of English, I always loved a metaphor because not only did it take up so many lines to explain, but it was something that could be discussed and actually developed the film, as well as adding more depth and another layer to everything that was going on. Amélie has a few amusing moments, but they are in reference to characters, and generally important details to the plot in some strange way. Get an answer for 'From "Raymond's Run," describe Squeaky's personality. He sits in a bathtub with Sam, and it has a similar colouring to the fireplace scene. They are self-explanatory, and really create the warm or cold feel of the film. They are overt in that they are readily available, but subtle because you have to know what they mean, and they might not be so obvious as you see them (or perhaps you have to wait until the end of the film). It would take a mighty character to overthrow Amélie from gaining the first points in this movie battle indeed. This hearkens back to the beauty that is the Amélie character, but also acts as a testament to Tautou’s abilities as an actor. But I’m getting ahead of myself. “The girl with the glass in the middle” is the character in the painting that they discuss, which, funnily enough, Amélie becomes in this shot later – in between the artist and the canvas. But colours are pretty simple to understand in Amélie – and even simpler when you’re using two. As the narrator tells us, "They call him 'the glass man.'. I encourage everyone to try and see both of these films and try and compare them to this level in less than 8774 words. It’s slightly ambiguous – and not in an effective way. How so? But when we meet Sam, and the doorway to a new place (both for Andrew’s emotional state and for the destination for his journey) is opened. There’s a range of categories that I’ll judge both films by that will no doubt vary between the films. But a series of events in her life helped her undergo a personal transformation that lead her to ⦠He was born with bones as brittle as crystal. The same can be said with the doctor’s building that Andrew goes to, the waiting room (the colours of that room will become important later as well), and the airport bathroom. Itâs beauty and simplicity (on a Unfortunately, I cannot say that he did. In many films, there’s no importance between how we see the characters and what they are feeling (I find there is a reliance on the mid-shot in this case). Red red red. Amélie, after letting another chance of ‘meeting’ Nino, is put into her metaphorical context: the camera high above her, standing alone, made to look small and insignificant. So to have only a point between them was, for me, predictable. What does this say? It takes ventures that you don’t see in Hollywood that much anymore. Plus, I look forward to a good cry. For example, Sam, after it being revealed to all that she lied about why she had a helmet with her, says that the real reason she had to carry it was that she had epilepsy, and needed it to stay employed (in case she had a fit and hurt herself). It’s the poster of the film. I guess that this is because of the conflicting state of mind that Andrew is in. In the movies, the blind moved slowly and never laughed. I tried to think of a metaphor for him, and the best I could come up with was a mask, inside of and onion, wearing a mask, wearing an apple skin. Garden State uses colour to contrast where we’ve been and where we can go. Amélie is storytelling in its purest form. Amélie, on the other hand, requires a little more of a stretch. Similarly they did it with costumes, but as there is nothing really of note in that department in either film (other than the red clothes that Amélie wears and the green clothes that Mr. Collignon wears, on par with the aforementioned colouring) I won’t dwell on that point. The author provides a brief reflection on the described events in the form of the protagonistâs retrospection and personal remarks of the main character. Sam provides relief and animation in contrast to Andrew Largeman’s sterile and subdued characteristics. There are some rather funny points in the film where it’s in there purely for a laugh. And I’ve never touched on Garden State even once, which I’m ashamed at. Tagged acting, Amelie, Amelie Poulain, American, analysis, Andrew Largeman, Audrey Tautou, camera work, characters, cinema, Closer, colours, film, French, Garden State, Georgette, Golden Globe, Hollywood, HSC, HSC movie, HSC secondary text, HSC text, Joseph, Mathieu Kassovitz, Movies, Natalie Portman, Nino Quincampoix, Raymond Dufayel, Review, Sam, Scrubs, Star Wars, technical, Zach Braff, Amélie has), and the way he is established in shots shows this. When the two share a moment by the fireplace, after swimming in the pool, isn’t only warm because of the fire, but because of the colours it throws out – the oranges and the yellows are quite inviting. The character is lively, individual and unique in much of the same fashion of Sam and Amélie, but he just isn’t as interesting as the two. It’s possible to read too much into Amélie and its use of lighting, I believe. Audrey Tautou, in front of the camera, in the film Amélie, really is Amélie. Yes, that Anton Chekhov. Anyone who has seen it knows what I’m talking about. The vibrancy of the two colours, and only two, is just amazing. If the camera does come to a stop, most of the time it’s a close-up on one of the characters. But colours are pretty simple to understand in. This is because they both deserve the credit of this category, but Garden State gets that little bit extra. Here’s a post I’ve fantasised about doing for a long, long time. We get a feel for each of the supporting cast – from Georgette, the hypochondriac, using some form of inhaler, who is presented alone to us in a mid-shot, up against a backing of the studiously organised and defined cigarettes behind her, thus defining neat and high-strung manner; to Joseph, looking away from the camera at all times with a scowl, a tight, close-shot, without changing emotion, when we are told he enjoys only one thing: popping bubble wrap. Well, it’s the mixbag of what else make these films good. Then we are taken to her house, which is just as colourful and just as ‘random’ (that picture gets random because you can see the year-old Christmas tree and the labyrinth of hamster tubing) as this strange girl we’ve just met – and strange in a good way. Garden State uses this to make everyone out to be smaller – not the centre of the world, but rather, a real human being on the world, with a real life. Raymond can instantly count hundreds of toothpicks the moment they fall out of their container, among other amazing mathematical feats. But, ultimately, Amélie walks out on top with two points. Anyway, these two films are among my all time favourites because I recognise them as the best films yet that either actor has stared in. discards, and makes them seem unique and original. But what are they? The two I have selected are Sam, as portrayed by Natalie Portman, and Nino Quincampoix, as portrayed by Mathieu Kassovitz from Garden State and Amélie respectively. And the same happens when she is the store Nino works at. Critical Analysis Of Raymond Carver's Cathedral When we begin this story, Carver uses the inner dialogue of âBub,â the narrator, to allow the reader some insight into Bubâs character and his vast ignorance of the world outside of his home. Why I Think This Is A Classic International Movie. The camera is moving because the characters are moving – physically, emotionally, psychologically. Garden State gets one for all the little things in it that make it good. But Amélie brings the foreign flavours of film to us. He becomes a character in the story âErrandâ which takes place as his life is drawing to a close. And, because she’s not seeking it out in the form of people, she’s surrounded herself in the environment. If Amélie has surrounded herself in red, even dresses in it, then she has the love she is searching for in her already. Then, finally, the film’s plot gets underway at 00:13:35. Was Squeaky defensive, determined, or other traits?' The colours, for both films, could do with an in-depth discussion in relation to each character, but this has already grown into a monster of a post, so I won’t bore. Because Sam brings into Andrew’s life real stability, not the pseudo-crutch that the drugs he takes provide. While I couldn’t fault the man for one wrong thing in a perfect film, it’s quite enough to suffer a defeat from Natalie Portman. As an example, when we first see Andrew after the dream sequence, we start with. Let us examine the first of these categories: camera work. Bud and Jack are friends from work, but no one else in the story has met before. I find myself empathising with Amélie right up to the end of the film, and finally, when she manages to find what she has been looking for through the whole movie (an untangled and ‘simpler’ life, and the ability to love), a welling of emotions and the feeling that she’s going to be alright. And because this emotion exists inside of him, build up over the years, I also find it hard to believe that not even an ounce of it would have crept out once in the movie at a part that betrays Andrew’s real feelings. . The painting that Raymond is working on will become a metaphor for, Amélie’s life later on in the film where both characters talk about. Once you think you’ve figured out Andrew, you then see him in a new setting, with new influences and he acts in a totally different way than what you would expect of him. But, between these two movies, Amélie comes out ahead. There are a few high and low angle shots that are worthy of note as well. You laugh. The camera doesn’t get close to her, and that’s what it’s like for the people around Amélie. She can captivate the audience simply by looking at it. I could almost believe that he lived all alone and worked in an adult entertainment store, was a recluse (in the barest of senses) to the world and had lost his direction, while enjoying getting lost. The narrator in this story is a good example of an anti-hero showing negative characteristics while never actually being a bad guy. Amelie Character Analysis Amelie Character Analysis 944 Words 4 Pages Show More Amelie recounts the story of a lonely girl who makes use of her imagination as a way to cope with negligence and her social deprivation. The same effect occurs at the end of the film, when Andrew is on the plane and headed home, and it’s a stark contrast to the slow-motion effect used on the plane in the opening scene. But, what I found interesting about what started me on that metaphor talk, was that. Without a relatable character, the film suffers. To sum up: Natalie Portman is the Audrey Tautou to Garden State. A similar effect is used when she sees Nino for the second time and has realised that she does have feeling for him. I’m a very considerate blogger. The stuff that you can sink your teeth into. The only light shining onto Amélie at this point is coming from Raymond’s room. and find homework help for other Raymond's Run questions at eNotes The storyteller represents the storyâs dominant subject of get the better ofing fright and bias of the blind through personal experience every bit good as common regard. Thus Andrew would have never changed, and he would have had no stage of self-discovery, self-awareness or chance to redesign the path of his journey. Portman has, quite possibly, the same acting style as Audrey Tautou bar one thing – where Tautou is demure and somewhat unassuming, though certainly in possession of the scene, Portman has a strong and dominating (when there is a need for it) presence on the screen. A simple, adjusted, expression at the right time, in the right context, is all that it takes. It’s in typical Braff style (to turn a serious issue into part-comedy), but it’s the essence of Sam the character that enables us to take a look at ourselves and laugh. Look at the four base colours there – black, white, red and green. Now, for a comparison for the two people who bring the previously compared characters to life. Most importantly, it is Sam’s relatability through Portman that saves Garden State. I fail to see how this is the reason for having Nino, as I would put the finger on him to be one of the two main influences on Amélie through her journey (the other being Raymond Dufayel, who might have warranted his own section of comparison with Mark from Garden State). Where the audience sees no, or little colour, we are viewing where we first meet Andrew – in his dead, bland, drugged world. When Amelie is six, he concludes that she has a serious heart defect (when in reality, Amelie's heart beats faster due to nervousness from her father's rare contact). Where to now? In fact, it was a fantastic start. We have established Andrew as, for the most part, sterile and shut-off. But I’ve never felt that I’ve done it justice. She has the ability to tug on the emotions of the audience with just the facial expressions that she can produce. Sam is partly there for some comedy against the seriousness that prevails in Andrew’s life. But Zach Braff is no Audrey Tautou. Braff, while he has the ability to hide emotion, doesn’t have the ability that Tautou has to fleetingly betray what Amélie is feeling on the inside. I have distinct memories from Garden State, and all of them are of Natalie convey the strongest of emotions – a bright smile, a believable laugh, crying in the phone booth. And, note, that she’s holding a glass. I enjoy thinking about a film, and I’m still thinking about Amélie. Amelie Character Analysis Amelie recounts the story of a lonely girl who makes use of her imagination as a way to cope with negligence and her social deprivation. Where he works, and how he makes his assistant dress (who he runs down all day) is green as well. And going back to that arcing shot of Amélie on the canal, skipping stones, there’s only one non-green thing in the shot: Amélie. There isn’t so much of a reliance on the close-up, as with Amélie, more it’s an emphasis of putting things in perspective. Black and white is used in the traditional sense of shading – how can any film avoid shadows and light? The way that the wide-shot is used in Garden State is noticeably different to Amélie in that not only does it distance Andrew from everyone, but it also puts things into context – Andrew feels alone and disconnected (though hasn’t gone there by choice, as Amélie has), and the way he is established in shots shows this. What we have in her is the distinct ability to bring the movie, her’s, and other’s characters to life. Inner characterization. Every wall is red, everything in the room is red, even Amélie is red. The colours, for both films, could do with an in-depth discussion in relation to each character, but this has already grown into a monster of a post, so I won’t bore. I can see why the length would have. Sam’s entrance into the film brings with it colour and, ultimately, a change in emotions for Andrew. It’s perfect. So what film can possibly win this point? Braff’s ability to stifle all emotion is what lets him down in the face of Tautou’s ability to become Amélie and to make you believe that she is the character – and that the character is a real human being. I’m not saying I don’t cry but in between I laugh and I realize how silly it is to take anything too seriously. Audrey Tautou is Amélie. Sometimes they were led by seeing-eye dogs. Sam is far from that. Relationship Status⦠single. Rabbit’ sang its praise (I think) once as well. Because she can conduct herself in a way that appears to fly in the face of psychological animosity, we are drawn to her. Filmmakers should realise that the original Star Wars perfected the art of lighting and need to leave it there. But no more! And contrast the life that’s portrayed by these two scenes – driving down an L.A. freeway and driving down a New Jersey freeway. This, for me, is an obvious symbol for the notion that the movie is concerned with change for the characters – a movement from the old to the new – and the moving camera is representative of this journey. If the recommendation comes in that people want similar, but shorter, posts to this then I totally understand and would, in all reality, prefer to write shorter ones. The image of Andrew in a mirror is a classic representation of a character of his type – split, undecided, lost. Nino also suffers from a problem you rarely ever see. He is intriguing, but just doesn’t go that extra step to grab hold of my interest and keep it maintained. When emotion should be evoked within the audience, the red is flooding the screen, it’s warmer and it’s related to what’s going on with the characters. Where Amélie is a journey movie that doesn’t stop, Garden State has the special quality of being a slow movie that can afford to stop. Well, I’ve devised four topics to cover all of the aspects, each worth one point, that really are standouts in both of these films: camera work, ‘colour’ and ‘the rest’. Here we compare the two main characters who help Amélie and Andrew Largeman through their journeys. In my opinion, this role was the better of the two. Each category has only one winner (unless there are exceptional circumstances) and the winner gets one point (or two, again, pending circumstances). brings the foreign flavours of film to us. Fences Character Analysis A loving family is one of the most important things in life because it provides support, love and a framework of values to each of its members.
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